Sonia Boyce

Artists

Sonia Boyce came to prominence in the early 1980s as a key figure in the burgeoning black British art-scene of that time – becoming one of the youngest artists of her generation to have her work purchased by the Tate Gallery, with paintings that spoke about racial identity and gender in Britain.

Since the 1990s Boyce’s practice has taken a more multi-media and improvisational approach by bringing people together to speak or sing about the past and the present.

Boyce has exhibited extensively throughout the UK and internationally.

In 2011 Boyce made Network, a specially commissioned film for Peckham Platform (then Peckham Space). The film explores how forms of social communication such as mobile phones and social networking sites like Facebook have become the most popular ways for young people to maintain their relationships with friends and family.

Her work was also part of the 2016 Peckham Platform Retrospective exhibition, a timeline of all 20 artists commissions realised by Peckham Platform between 2010 – 2016.

Artist Sonia Boyce talking to a group of people on a microphone

More Artists

Artists

Birungi Kawooya

Birungi Kawooya’s art embodies the beauty of the African diaspora with a focus on dance, nature and wellbeing. She takes inspiration from Ugandan classical Kiganda dance styles, flash dancing by The Nicholas Brothers and hiplet from Homer Bryant, interpreting these influences in collages using layers of Ugandan batik fabrics and cutout card.

Artist David Cotterell standing with miniature stunt helicopter as part of the film Slipstream

David Cotterrell

David Cotterrell is an installation artist working across varied media including video, audio, interactive media, artificial intelligence, device control and hybrid technology. His work exhibits political, social and behavioural analyses of the environments and contexts, which he and his work inhabit.

Mhairi Macaulay

Mhairi Macaulay’s work is characterised by a fascination with ‘The Social’: the way individuals interact with each other. Without a fixed aesthetic, Macaulay plays with the preconceptions we have about different communities, from grassroots groups to large corporations.

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